Dynamic Microphone with Cardioid Pickup Pattern, 40Hz-15kHz Frequency Response, Low Impedance, Included Stand Adapter, and Zippered Carrying Case
"What microphones did you use to record your guitars? I use a Shure SM57 positioned on axis a couple of inches from the cone. On some tracks the engineer, Ryan Hewitt, added a Royer R-121 ribbon mic, positioned about 15 feet away, in order to capture some of the room sound. We used a Telefunken Ela M 250 tube condenser mic on the acoustic guitars."more
Producer Vance Powell - “On Blunderbuss I also used the Neve 33609 and RCA BA6A and an Ampex MX35 four–channel tube mixer to record the drums, but these sessions happened so quickly that I did not have a lot of time to set things up. There was not a lot of upright bass this time, but when there was one, I’d use an RCA 44 and something higher up like the RCA BK5A [cardioid ribbon mic]. There was an African drum on ‘Would You Fight For My Love?’, which had an AEA R92, electric bass would have been DI and a Neumann U67 on the amp, with maybe some compression from the [Fairchild] 670. I recorded Jack’s acoustic guitar with an RCA 77DX, and his electric almost always goes through his 1963 Fender Vibroverb in front of which I placed a U67, which went into the Neve 1073 desk and then straight to tape. I did not record any of Jack’s vocals, other than on the song ‘Just One Drink’ because that was done entirely live. I used a Shure SM57 or 58 on his vocals for that, and Josh recorded the backing vocals.”more
Mentioned by recording engineer Richard Dodd in this *Sound on Sound* interview about the recording of "Learning to Fly". > "One of the amplifiers Mike was using was an open-back Ampeg, and I had a Shure SM57 on that while, to capture some low end, I had the bright idea of also sticking one of those flat PZM microphones onto the amp. It was the Radio Shack mic, not the posh Crown version, and I just blended that in. Being omnidirectional, it gave a little of the environment, and those mics were blended together and went through a Urei 1176. Typically, the pre would be an outboard Neve 1073 or an API, and only things like percussion would use the preamps on the console. > > "The same recording method was used for the other guitars, with the exception of the PZM. The SM57 is also mentioned in [this March 1983 *Musician* article](https://www.thepettyarchives.com/archives/magazines/1980s/1983-03-musician) about Tom Petty and the Heartbreaks. > They all use Shure SM57s, are mixed through a Davey Bryson console and are heard through Jensen Bulldogs.more
Used on *Professor Satchafunkilus and the Musterion of Rock*, among other recordings and live performances. > And what about those famous guitars, which included Ibanez JS1200, JS1000 and JS2PRM electrics (his signature line), a Bruce Sexauer FT-14 acoustic and a 1948 Martin 000-21? For the demo recordings, Satriani used either a Palmer or Marshall SE100 speaker simulator paired with one of his many guitar amps, including those from his signature Peavey JSX Series. In the studio, he played into either a CAD D189 or an SM57. For clean guitar parts and acoustic guitar, he used a KM54.more
[This article on the making of Marr's 2018 *Call the Comet* album by MixOnline.com](https://www.mixonline.com/recording/johnny-marr-finds-his-voice-on-call-the-comet) touches on some of the gear used during the recording process. "The core idea behind the recording was to have it be close to what the band does live. The band records together in the live room quite a bit, although not always. For Marr’s guitars, Doviak places a Shure SM57 and AKG C414 in 60/40 blend up to the amp grille through the Neve 1081s with very little EQ, just a touch of brightness and bite to the SM57 and scooping out of muddiness. This gives an accurate representation of what you would hear standing in front of Marr’s amp at a show. " (While the engineer is providing this feedback, the gear is housed in Marr's own Crazy Face studios, which contains gear he's collected over his decades in the music industry.)more
"He also used a Fender Bassman on about four songs and a Vox AC30 for some clean tracks. Four microphones were used to mic Kurt's speaker cabinet (he would pick which mic he liked best for each song and its signal was sent through the Neve console at Sound City): a Shure SM57, an AKG 414, a Neumann U87, and occasionally a Sennheiser 421. His main effects were the DS-1 Distortion and Small Clone. A ProCo Rat distortion pedal was also used on some songs on the album (6)."more
Featured in this page from the fansite JohnBonham.co.uk. > According to Jeff Ocheltree (Bonham's drum tech in 1977 & 1979), the Showco concert-sound company used Shure Professional Series SM57 microphones to mic up everything from the timpani, to the bass drum (one mic at the front side, and another placed near the beater on the back). The Vistalite and stainless steel drum kits were also miked-up using this mic. > Many more details can be found in Welch & Nicholls' amazing book - '[*John Bonham: A Thunder Of Drums*](http://johnbonham.co.uk/store/books.html)' Which you really ought to own!more
"First and foremost, I recorded—and still record—exclusively with a Shure SM57 because I believe that the magic in that little mic can’t be beat. I can’t tell you how many times engineers would place all these fancy condenser mics two or three feet away from my rig and tell me, “Don’t worry, we’ll get a good tone.” I’d never be happy with it though, so I’d set up the 57 two inches in front of and off the outer edge of the cone and it would always sound better!"more
Mentioned by *A Head Full of Dreams* co-producer Rik Simpson in this *Sound on Sound* article. > “My drum-mic setup mostly consisted of the usual contenders, apart from an old STC/Coles 4012 ‘ball and biscuit’ microphone as a mono overhead that I love, and a couple of Telefunken 251s as overheads. But everything else is fairly standard. I play around with different room microphones depending on a) how many band members I am recording at the same time and b) what the song needs. I quite like Coles, which are kind of grimy and dirty, and I quite like B&K microphones which are the opposite end of the sonic spectrum, a lot more hi–fi. I have a Shure 57 on the snare, but I sometimes go for a Neumann KM84 if the song is delicate and the snare needs that tender touch. For the kick I have a Telefunken M82 dynamic microphone that is designed for a kick drum and that sounds really good. It is punchy and big but not too clanky. The AKG kick-drum mics are a little bit ‘knocky’ for my liking.more
Mix engineer Tommaso Colliva on recording Drones : “The mics on the bass cabs were a Neumann FET 47 with a [Shure] SM57, Beyerdynamic M88 or Electro–Voice RE20 on the clean amp, and the same on the distorted amps, but we also tried the Shure SM57 or Sennheiser 421 on the latter.”more
Used for the rack toms and snare drum, as mentioned in this transcription of a February 1982 issue of *U2 Magazine*. > Larry has a somewhat unusual drum set up. Not that the kit itself was unusual, but it was arranged in an unusual manner and had several unusual extras. The basic kit is a very impressive all black Tama Fiberstar - all single headed, and including a 24" kick drum, 16" and 18" floor toms, and a selection of rather deep rack toms. The snare was a Ludwig 14"x61 " steel shell and he also has a pair of Latin Percussion Timbale. The cymbals comprised Zildjian 18" thin ride; 18" thin crash; 18" medium crash; 18" pang and 21" ride, with Paiste 14" hi-hats on a Premier Trilock pedal. The rest of the stands are Tama. The kit is miked using Sennheiser 421's for the kick and the floor toms, Shure SM57's for rack toms and snare, Electro-voice RE10 on the hi-hat and AKG D190's on the rest. No overhead mikes. The SM57 was later used for the snare drum and ride cymbal on "Get On Your Boots", as stated by producer Declan Gaffney in [this Sound on Sound interview](https://www.soundonsound.com/people/secrets-mix-engineers-declan-gaffney). > "Most of 'Get On Your Boots' was recorded in Dublin by Richard Rainey, and the basic backing tracks were done live, by the whole band together. There was an [Electro-Voice] RE20 inside the bass drum, with an SE Electronics Titan on the outside, a [Shure] 57 underneath the snare, and Richard had his own Heil mic on top, which he alternated with a Beyer M201; the toms were [Sennheiser] 421, overheads Coles 4038; ride cymbal was sometimes a 57, sometimes a [AKG] 451. Everything went through the Neve 1091 or 1093 mic pres."more
In this official video for "Room at the Top," Tom is singing through an SM57. The SM57 is also mentioned in [this March 1983 *Musician* article](https://www.thepettyarchives.com/archives/magazines/1980s/1983-03-musician) about Tom Petty and the Heartbreaks. > They all use Shure SM57s, are mixed through a Davey Bryson console and are heard through Jensen Bulldogs.more
The SM57 is also mentioned in [this March 1983 *Musician* article](https://www.thepettyarchives.com/archives/magazines/1980s/1983-03-musician) about Tom Petty and the Heartbreaks. > They all use Shure SM57s, are mixed through a Davey Bryson console and are heard through Jensen Bulldogs.more
Mentioned by recording engineer Richard Dodd in this *Sound on Sound* interview about the recording of "Learning to Fly". > I believe Jeff played the bass on 'Learning To Fly', DI'd as usual, and the drums would have been miked with a 57 about 18 inches away from the snare, an [Neumann U] 87 on the cymbals and the same 57 on the tom-toms. Pretty basic stuff. The SM57 is also mentioned in [this March 1983 *Musician* article](https://www.thepettyarchives.com/archives/magazines/1980s/1983-03-musician) about Tom Petty and the Heartbreaks. > They all use Shure SM57s, are mixed through a Davey Bryson console and are heard through Jensen Bulldogs.more
Used on the electric guitar for *Toto XIV*, as mentioned by producer CJ Vanston in this March 5, 2015 *Mix Online* article. > The main mic preamp throughout was a Universal 6176, used for most of the vocals. “Either with a 47 or an Audio-Technica 5040,” Vanston says. “We used a Schoeps on some of the acoustic guitar tracks and also the Shure KSM44—that sounds fantastic. Then we used a 57 for the electric guitar. If Steve Lukather is happy with his guitar sound, I’m happy with it. And I have two Neve 1073s that we used a lot on the keyboards. I’ve got a Neve 8801, which is a great preamp that I like.”more
"I keep one of my basketweave cabinets mic’ed up all the time – 24/7 – for the last six years. I keep the heads in another room and switch between them, but keep the cabinet mic’ed up. I picked just one speaker and I use Shure SM57 and Sennheiser 409 mics together on the same speaker" - [Gilby Clarke](http://www.vintageguitar.com/2903/gilby-clark/).more
My live rig with Bush is a monster. My guitar runs through volume pedal, then a Jerry Cantrell wah, into the front of a Fractal AXFX XL II+, it splits out of the FX loop into a Voodoo amps modded Marshall JMP-1with a gold Marshall EL34 100/100 and into a first revision Mesa Boogie Dual Rectifier. Both amp signals send to 2 separate Rivera silent sister iso cabinets loaded with Eminence EJ1250’s. Each speaker has 2 microphones, and modded Sure Sm 57, and a Sennheiser 421.more
In [this article](http://www.soundonsound.com/sos/jan11/articles/it-0111.htm) Yvan Bing, sound engineer on Phil Collins' album, Going Back, says, "For most of the recordings, I had a Beyerdynamic M88 on the kick, a Shure SM57 on the snare top and a Sennheiser MD441 on the bottom, another M88 on the low tom, a Neumann U47 for mono ambience and one Neumann U89 as a mono overhead."more
> I had two Shure SM57s on the snare, top and bottom, and on the toms I had an SM57 on the top and a Sennheiser 421 underneath. You have to be really careful in positioning these mics; the top gives more attack and the bottom will pick up a more round tonal quality. Mike Fraser, Sound on Sound interview, 2009.more
"**Interviewer:** What kind of gear did you use during the recording process? **Bouillet:** Guitars used where FGN Fujigen Expert OS, 1978 Les Paul Standard, 1978 Ibanez Pf 300. Pickups Seymour Duncan JBs, Intex Cables which I highly recommend, Dunlop picks, Marshall, Mesa Boogie, Roland Micro Cube amps, Eleven. Boss Gt 100, Boss Super Shifter, Vemuram Triplex, Line 6 delay, D'Addario strings, Pro Tools. Neve 1073's, RCA pre's, V76's Shure 57's."more
In this [Sound on Sound interview](http://www.soundonsound.com/sos/jul13/articles/it-0713.htm), Ken states of his recording microphones, "I have an [AKG C414 TLII](http://equipboard.com/items/akg-c414-tlii) for vocals and acoustic guitar, a couple of [Royer R121s](http://equipboard.com/items/royer-r-121-ribbon-microphone) and some [Shure SM57](http://equipboard.com/items/shure-sm57-instrument-vocal-mic) and [58s](http://equipboard.com/items/shure-sm58-vocal-microphone) for guitars, and that's it."more
Used as a snare mic for “Every Breath You Take”, as mentioned by producer Hugh Padgham in this March 2004 *Sound on Sound* interview. > "At AIR Montserrat, the dining area had a gabled ceiling and reflective wooden floor, so I recorded Stewart's drums with room mics while also close-miking the kit, similar to how I recorded Phil Collins. There was a [Shure] SM57 on the snare, [Sennheiser] 421s on the toms, Coles 4038 ribbon mics for the overheads, and [Neumann] 87s as room mics, placed about 10 to 15 feet away and compressed a little bit. Obviously, we didn't use the room sound as much as we did for Phil, but it still provided Stewart's sound with a certain liveliness.”more
Reid’s guitar rig had a much more modern vibe than the other players on the tour. In addition to his signature Parker guitar and Roland processor, it featured a Mesa/Boogie Dual Rectifier with a matching 4x12 loaded with Celestion Vintage 30s and mic’d with Sennheiser e906 (left) and a Shure SM57 (right).more
In this article by Sound on Sound it says MGMT used an SM57 saying : "We had to mic the drums with this Radio Shack mic on the kick and an SM57 on the snare. Then, in the end, on parts of 'Weekend Wars' and 'The Youth' on the record, some of the drum tracks were actually just that, run through preamps.”more
Auctioned off on Gotta Have Rock and Roll's website on October 16, 2010. > Elvis Presley owned and used this Shure SM-57 microphone many times during the years 1972 and 1973 and appears on the cover of his RCA album “Good Times.” Elvis’ name is engraved on the neck of the microphone. According to Elvis’ close friend Charlie Hodge Elvis often had his name engraved on the microphones that he lied and that he didn’t want anyone else using. Elvis used various microphones over the course of his career and kept many at Graceland, his California homes and at his home in Palm Springs. One of Charlie Hodge’s jobs besides helping Elvis on stage with his music was to vocalize with him every day. This microphone comes with a letter from Charlie Hodge and several color photographs showing Elvis using this microphone. Estimate: 10000-15000more
"Re–amping and distortion are likewise more important to Craig Potter's own keyboard sounds than experimentation with synthesis or sampling. 'I don't have many old analogue synths, I have a few, but I usually just use piano and bits of organ,' he says. 'I suppose I'm just a big fan of distortion, really. I distort everything! Piano distortion I love. We just chuck a 58 or a 57 in the piano and then we run that out, make sure there's plenty of doors in the way so it doesn't feed back, crank it up through an amp — I love that sort of thing. So it is basically piano that I play, bit of organ, some synths. We've got the Microkorg we used for the bass on 'Bones Of You' and we've got a Nord, little bits and bobs.'"more
Used as an overhead mic on "Linger", as mentioned in this March 2019 *Sound on Sound* interview. > In regard to drum miking, Stephen Street's approach was fairly standard for early '90s recording. "Yeah, pretty traditional in a sense," he says. "I might have used a [Neumann] U47 FET inside the bass drum. The usual kinds of Shure dynamic mics on top of the snare and under. Sennheiser [MD] 421s on the toms, KM84 on the hi?hat, and the overheads would have been two U87s. That tended to be my go-to set-up back in those days."more
Used for the electric guitar on *Volume 3*, as mentioned in this April 15, 2015 *Electronic Musician* interview. > Ward’s electric was double-amped through a Fender Deluxe and a Silvertone that [producer Pierre] De Reeder miked with SM57s, the idea being that the two amp sounds could be selected, blended or panned at will. Ward’s acoustic went to a Neumann KM84.more
> I record to Cubase through really good Apogee convertors, and I generally just pick a very simple chain using a nice preamp and a Shure SM57 mic—just like all the oldschool guys used to do. Here’s a tip I learned from three of the big four metal bands: Put an SM57 in the bottom left speaker of your 4x12 cabinet, aim it dead center in speaker and up against the grille, and then move it to the left about an inch or so. That’s pretty much the miking technique for most of the great metal albums that came out in the ’80s, and even including Pantera in the ’90s. I have a good set of Celestion speakers in my Hughes & Kettner cabinet, and, quite honestly, as long as it’s Celestions and an SM57, you can get a great metal sound. Guitar Player interview, 2010.more
Used on the *Mind Over Matter* Tour, as mentioned in this March 1, 2014 *Mix Online* article. > Drummer Francois Comtois’ kit has a Shure Beta 91A and Beta 52 on kick, Beta 57 and SM57 on snare, KSM 137 on hi-hat, and Beta 98AMP on toms, according to drum tech Colin “Gravy” Strahm. Cymbals are KSM 32s, and his vocal mic is a Beta 56.more
SOS Magazine article: Secrets Of The Mix Engineers: Renaud Letang "Many people have asked me how I did Feist's vocal tracks on the album. We had two setups for the whole album. I had a Neumann U67 and an SM57 both going into a Vox guitar amp, on which we EQ'ed and added reverb. The Vox was miked up by an SM57 and a U87 and then went into the old Neve A646. This gave us what we called the 'dirty' vocal. The other setup was just one U67 going into the Neve preamp in Canada, which was similar to the Neve A646.more
> "**GC:** What's your mic-ing set-up? Do you use one mic? > > **Mascis:** [Producer] John Agnello used a Shure SM57, Sennheiser MD-421 and a Shure SM87 on one track, just bound together. They're all close, all right on line." Mascis has also used (and still uses) an SM57 as a vocal mic, particularly during the recording of Dinosaur Jr's *Farm* (as seen in [this episode of Pitchfork's *In The Studio*](https://youtu.be/TYDIH_H43yE?t=4m31s)) and in [this live performance](https://youtu.be/_yXFIWCNELY?t=1m14s) of Dinosaur Jr's "Sludgefeast".more
At 24:34 Larry Carlton talks about how he uses the Shure SM57 to mic up his amp to his effects. "Yeah, yeah, so pretty simple set up if you notice now there's a 57 on my speaker cabinet. There will be, when I'm playing live, 2 57s on my speaker cabinet one 57 is for the house mix the other 57, the tone of my speaker and my amplifier, it's that 57 and that tone is what ends up hitting my effects. Just like when you're in the studio, you have your dry guitar sound which you wanna put some effects on it, you have the send and return. It's getting the source from the microphone on your amplifier, so that's the conversion that I did because the tone I want my effects to hear is the tone I'm sending through it, right?"more
"For guitar amps, I start with an SM57 typically, but sometimes a RØDE, usually into this UREI 1178 compressor through an API 312 mic preamp. I usually go into this API 550A EQ; or if something really needs to be carved out, I'll go into this UREI 546, an old film mastering EQ, with very specific control. Sometimes I'll send the guitar into this old RCA solid state compressor. The RCA also sounds great on snare."more
According to [this article](http://patricksisson.com/gang-signs-post-punk-legends-gang-of-four-revisit-old-principles-and-crank-up-the-transistor-amps-on-content/), in which Andy discusses his drum micing technique, "For the snare, I use an SM57 or Beyerdynamic M88, an SM85, and a KSM44."more
Matt: Does your studio set up differ from your stage rig? Stacey: I keep things pretty simple. My role in Hi-Fi is to just provide the meat. I have two settings distorted and really distorted, loud and louder. Normally I play all the rhythm parts, but for this record Jamie and I both played rhythm because we 99% of it is live off the floor. So in other words, when we got a drum track we got a bass and two rhythms guitar track as well, because we were all tracking live together. There’s this intangible quality you get with four guys playing live at the same time. There’s no beat detective or anything with this record, we just did it live and then added overdubs later. Generally speaking, I use a Marshall JCM2000and I’ll put a 421 or a 57 on that and a Royer, a little darker mic, and I have a Bad Cat combo amp that I use. So I have this wall of distortion from the Marshall and I’ll mix in the chimey, clean stuff from the Bad Cat, and that really works well for me. That’s in the studio, and on stage I’m really simple, I really just set up the Marshall and I’m good to go.more
"According to drum tech Jeff Linsenmaier, Ben Wysocki's kit is miked with Sennheiser e 602 and Yamaha SubKick (bass), Beyer M201TG (snare top), Sennheiser e 604 (snare bottom), AKG C 430 (hi-hat), Shure SM57 (tambourine), Sennheiser e 604s (rack/floor toms), AKG 460 (ride cymbal) and AKG C 414 B-XL II (underhead stage-right/left)."more
“Starting with the kick drum, I used an AKG D30, but then I sometimes used the Shure Beta 52A and I used a [Yamaha SKRM-100] Subkick too at times. On the snare drum, I had a [Shure] SM57 or sometimes the Telefunken M80. It’s a little more of an open kind of mic. With the toms, I used a [Shure] Beta 52A on the floor tom, which I really liked. It’s really got a lot of bottom and some top but it’s got a thing where it kind of glues things together with the rest of the kit when you bring it in. It worked really well with the overhead mics. I also used a [Shure] SM7 on one tom. For overhead mics, of all things, I used these [MXA] MCA SP1s. "more
Vocalist/guitarist Andrew Stockdale sings through a Shure Beta 58A. “Nothing is going to sound better on his vocal,” says front-of-house engineer/tour manager John Hagler, “especially to lift him above the guitars. I've tried to get away from using it, but every time I ended up just EQ'ing the thing to sound like a 58A, so I always go back to it.” His amps (below right) take two SM57s: one on the Marshall and one on the Vox."more
"The overhead was usually a [Sony] C37. The snare would've changed around for sure, but usually it was just a [Shure SM]57. If I needed a bottom snare, like if I needed a little more crack out of it, it would be whatever cheap condenser I had sitting around, because it doesn't need to sound great, it just needs to pick up that high frequency. "more
A FOH stage hand sent out a couple pictures of Chris Stapleton's live rig on May 27, 2016 in Simpsonville, SC at the Charter Spectrum Amphitheatre. The stage setup clearly matches the setup seen in various videos around the web from early-2016 shows. Shure SM57's are seen clearly in front of both of his amps.more
Visconti says that the basic vocal chain on the album consisted of Bowie's own Manley Gold Reference Mic into an Avalon mic pre, into an LA-3A compressor and a Focusrite Red EQ, then into an Apogee 8000 A/D converter and a G4 Mac running Logic Audio. “I started recording vocals on analog, as I did with all of the drums [16-track at 15 ips with Dolby SR, or 30 ips with no noise reduction — I consider it to be the ultimate tape format,” Visconti says, but the lock-up became tedious, so we stayed in the digital realm — 24-bit, 44.1k]. On one song, ‘I Took a Trip on a Gemini Spacecraft,’ I used a Shure SM57 to get a rockier sound, but I later regretted that because the Manley spoiled me rotten. It's such a sweet mic, very musical in the midrange. The Manley mic vocals just leapt out of the mixes, whilst the 57 needed lots of EQ, compression and, ultimately, de-essing to get it above the mix.”more
According to this interview with Guitarplayer.com Capps uses an "old" SM57 to amplify his guitars on stage: "It’s got less high end than some of the newer models. I can’t deal with a direct sound because I don’t need some soundman trying to equalize the volume between my guitar and my voice. If I need to be louder, I’ll lean in. It’s like how Bill Monroe’s old bluegrass groups used to play around one mic. When someone took a solo, they would lean in."more
Microphones: (2) Josephson 606A-KA21 hypocardioid small condenser (2) AEA N22 active ribbon (2) Neumann KM130 omni small condenser (1) Blue Mouse cardoid large condenser (2) Blue Dragonfly cardoid large condenser (2) ADK TL-Au custom modified multipattern large condenser (1) ADK TL-Gk67 custom modified multipattern large condenser (2) ADK Sigma CHI small diaphragm condenser (4) ADK Sigma CHI large diaphragm (lollipop 47, 251 capsules) (2) Oktava MK012 w/ Red Replacement capsules (1) Audio Technica AT4050 multipattern large condensor (2) E/V NDym 408 dynamic (2) Shure SM57 dynamic (1) Sennheiser MD421mII dynamic (1) AKG D112 kick drum micmore
"In general I used both Shure SM57 and Royer R-121 ribbon mics, a few inches back, just off the center of the cone, give or take an inch or two depending on the part. When you back the mics off a bit, it can help a part sit in a track better, especially if there are more that two guitar parts."more
"So here's the miking setup I'm going to use today and this, maybe, a little but of overkill and you typically don't need more than one mic on a cab, but we're goin' a little over the top in this video. So I have a Shure SM57 as well as an Earthworks SR25. (...) What do you do with a dual-miked cab? I like to blend the two microphones together. I like the high end of a 57 and I like the low end of the Earthworks mic, so blending those two together, you can get sort of in the weeds as far as panning goes and you gotta look out for phase, but if you mike the amp correctly, you're not gonna run into too many issues and have a lot of creative freedom."more
"The Body Bags score was composed using Digital Performer software running on a Macintosh Iicx computer. Sampling was done with an Emulator IIIxp and a Forat F16. Other electronic instruments include Hammond B3, Wurlitzer electric piano, MicroMoog, Roland MKS80, D550, Prophet VS, Yamaha DX and TX series, EMU Proteus 1 and 2, Korg M1r and M1rex, and an AKAI 612. The score was digitally recorded using Alesis ADATs and BRC and John Hardy microphone preamps. Microphones included AKG414, Shure VP88 and SM57. The music was mixed on a custom Speck Electronics model 62 console. Signal processors used include: Behringer MDX 2000, SNR 802, DBX165a, B&B and Troisi cq, Dyna-Mite, Aphex expander gates, Lexicon and Yamaha Reverbs, Zoom, TC and Korg delays. Additional DSP and editing done in Sound Designer/Sound Tools." -John Carpentermore
Used on *Anthem of the Peaceful Army*, as stated by mix engineer Al Sutton in this January 2019 *Sound on Sound* interview. > "With regards to electric guitars, we usually had several amps set up, like an AC30 and a Marshall, or Marshall clone, and I tended to have a U67 on one and a U87 on the other cabinet, placed straight on the centre of the speaker. Sometimes I'd use a Sony C37 or a Shure SM57. All the guitar mics also went through the API desk, but I sent the bass through the Acme Audio MTP-66 pre and DI."more
"A Neumann FET47 (the first real mic I ever bought, a great kick mic) and an old AKG D12, plus pairs of Neumann U87s, AKG 414s, 421s, AT451s, AT4033s, some Groove Tube mics, a magical AKG C12A, a stereo ATM that works great to take around for overdubs elsewhere (like the kitchen or garage), some weirdo mics I’ve found while touring, plus the solid traditional stuff like a Shure SM57, which is the snare drum standard for me. I was also just given some Earthworks mics, which have amazing detail–I never heard the downstairs TV in my overheads before!"more
Used on *Anthem of the Peaceful Army*, as stated by mix engineer Al Sutton in this January 2019 *Sound on Sound* interview. > (...) "I take the Glyn Johns setup as my basis, with an overhead and a side mic equidistant from the snare — I use two drum sticks to measure the distance. I used to use two Mesanovic M2 ribbons for this, but now use two Neumann U67 mics. In addition, my kick mic is the AKG D36, and my snare mics are the Shure SM57 and Neumann Gefell M300, held together by an X clip. I have a mic pointing at the side of the snare which often is called the 'wurst mic' [a term coined by German engineer Moses Schneider for a saturated lo-fi drum mic that delivers a sausage-shaped waveform — Ed.]. I used to use the Neumann UM57 for that, but now it's the Sennheiser MD441. It's really pointy and effected-sounding, and technically you can use that mic for your entire drum sound. My room mics are two Mesonovic ribbons, in a Blumlein setup. All drum mics went through the API, straight into Pro Tools."more
A Shure SM 57 was used on Richard Goddeau’s snare drum to capture the sound of his Pearl Custom Masters Series set on “Circles”. Richard Goddeau only appears on 1 song on “the black and white album”(2017). However an SM 57 was also used on his snare drum on “Back Up Again” and “Brand New Day” tracks 1 and 7 on Positive Mental Trip’s 1st professional studio album “Change Your Mind”(2012)more
Used for the snare drum on *Toto XIV*, as mentioned by producer CJ Vanston in this March 5, 2015 *Mix Online* article. > On the kick drum he placed a Sennheiser 421 and a Yamaha subwoofer, and on the snare drum a Shure 57 with another Shure 57 underneath. On the hi-hat he switched between a Neumann KM 84 and Shure SM81. > > “For overheads I used a pair of AKG C12As,” Petocz says. “Tom mic’s were 421s and for room mics I had a 47 mono room mic very close to the drums, halfway between the kick and the snare. Then for the more traditional room mic drum sound, I used a pair of U 67 Neumanns and occasionally a C-24 from the back, just sparingly. They all went through the beautiful vintage 8068 Neve console, the best sounding Neve in town. And some compression on the snare when it needed it, but only slightly. Then what I did is go direct out when I could instead of busing it, just for that added purity.”more
Used on Charles Bradley's *No Time for Dreaming*, as mentioned in this March 15, 2011 *Electronic Musician* article. > High-octane performances are at the heart of Bradley’s long-overdue debut album, *No Time For Dreaming* (Dunham, 2011). Started in 2005 in Brenneck’s former bedroom studio, the album is a reverent throwback to the days of Muscle Shoals, Stax, and Studio One, when entire bands would cram into a room with just a couple of microphones—in this case, Brenneck’s own six-piece Menahan Street Band, with only a Shure SM54 and an SM57 going into a TASCAM 12-channel mixer—and lay down a barrage of rhythm tracks that were bounced, squeezed, and compressed to make room on the tape for the wailing lead and background vocals.more
You point a 57 at a sound source, adjust the gain on your preamp, and what you record sounds vaguely like the sound you recorded. One time me and a buddy drowned a 57 in a toilet, flushed for the heck of it, then plugged her in and used her and she sounded exactly the same. No worse off.... but no better either! Indestructible, cheap, I used to own like 8 of these but now I think I just have my vintage 60s one.
An incredibly cheap mike for close-miking jobs. I have recorded a drumkit at a gig with these mikes and been amazed that no other instruments could be heard on the recording.
This microphone is by no mistake the industry standard for recording guitar (and a lot of other instruments). We grew up listening to guitars recorded with it, and, as ar as microphones go, this one is really really easy to set up and get a good sound out of. I have used it for vocals with a pop filter with good results, and for other instruments as well. Highly recommend.
I used to make do with one of our drummer's spare tom microphones... I didn't realise what I was missing until I got one of these and my life changed! Absolutely love it, perfect for mic'ing up my amps either for stage or studio.
I bought one Shure SM57 before my first big gig with my other band, my Fender Rumble is really louder but the room was really big, so we (me and the guitar player, who has a Marsall CF 112) bought a couples of these mics, we put the mics in a Yamaha EMX head and trough two Peavey's PV115 and we play. I also recorded a lot of acoustic's with this mic and my Yamaha Acoustic. Not my choice for voices, but is a great instrument mic
Yes, it has been the standard for snare drums for so many years and it sounds really great. Lacks of high frequencies but he reproduces perfectly the body of the snare drum sound.
This is a classic microphone used on countless tracks. It is the standard for recording guitar cabinets and can be used for pretty much anything if you have the creative will!
This is the quintessential studio microphone. Most if not everyone who owns a recording studio has at least one of these microphones. I use it mostly to record electric guitar and snare drum. I've seen videos of people using it as a vocal microphone too so it's very versatile. It is also very durable. The sound is bright and focused, ideal for miking guitar cabinets. It makes a great combination with the Sennheiser e906.
This mic is amazing. I spent some time up at Berklee College of Music this past summer, and they have about 7-13 of these in all of their studios, stored right next tons of other mic that make the price of this mic look like pocket change... Keep in mind, Berklee has multi-million dollar studios, and they have to budget to fill their mic lockers to the brim with as many $1000 AKG condensers as they want, yet they still swear by 57's for any project. You know a mic is good when it doesn't even cost $100, yet it is still used by pros who would choose it over mics that are way more expensive.
Most people would agree that in the music world, you get what you pay for when it comes to gear. This mic is the exception. It's incredibly cheap, but it still sounds amazing.
It's a 57, man. If you don't have these, you aren't recording. A true studio workhorse. I've gotten to the point where I just collect these now. You can never have enough.
This is one of the most respected and used dynamic microphones, and the most important - it's cheap! SM57 is the standard for recording electric guitars, snare drums and US presidents.